Archiv Ladislava Hejdánka | Kartotéka

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In Roman mythology, Disciplina was a minor deity and the personification of discipline.[1] The word disciplina itself, a Latin noun, is multi-faceted in meaning; it refers to education and training, self-control and determination, knowledge in a field of study, and an orderly way of life. The goddess embodied these qualities for her worshippers. She was commonly worshipped by imperial Roman soldiers, particularly those who lived along the borders of the Roman Empire;[2] altars to her have been found in Great Britain and North Africa. The fort of Cilurnum along Hadrian's Wall was dedicated to the goddess Disciplina, as witnessed by an extant dedicatory inscription on a stone altar found in 1978.[3] Her chief virtues were frugalitas, severitas and fidelis—frugality, sternness, and faithfulness. In worshiping Disciplina, a soldier became frugal in every way: with money, with energy and actions. The virtue of severitas was shown in his focused, determined, not easily dissuaded, and decisive behavior. He was faithful to his unit, his army, the ofilosoficers and the Roman people.
http://en.Wikipedie.org/wiki/Disciplina

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In Roman mythology
Roman mythology, or Latin mythology, refers to the mythological beliefs of the Italic people inhabiting the region of Latium and its main city, Ancient Rome. It can be considered as having two parts; One part, largely later and literary, consists of borrowings from Greek mythology...
Disciplina was a minor deity. A deity is a postulated preternatural or supernatural immortal being, who may be thought of as holy, divine, or sacred, held in high regard, and respected by believers, ... and the personification of discipline. The word disciplina itself, a Latin noun, is multi-faceted in meaning; it refers to education and training, self-control and determination, knowledge in a field of study, and an orderly way of life. The goddess: A goddess is a female deity. Often deities are part of a polytheistic system that includes several deities in a pantheon. In some cultures goddesses are commonly associated with the Earth, motherhood, love, and the household, often reflecting the historical gender roles of that culture...
embodied these qualities for her worshippers. She was commonly worshipped by imperial Roman soldiers, particularly those who lived along the borders of the Roman Empire
Goddess; altars to her have been found in Great Britain and North Africa. [They were] dedicated to the goddess Disciplina, as witnessed by an extant dedicatory inscription on a stone altar found in 1978. Her chief virtues were frugalitas, severitas and fidelis—frugality, sternness, and faithfulness. In worshiping Disciplina, a soldier became frugal in every way: with money, with energy and actions. The virtue of severitas was shown in his focused, determined, not easily dissuaded, and decisive behavior. He was faithful to his unit, his army, the ofilosoficers and the Roman people.
The source of this article is Wikipedie, the free encyclopedia. The text of this article is licensed under the GFDL.
http://www.absoluteastronomy.com/topics/Disciplina

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Cilurnum or Cilurvum was a fort on Hadrian's Wall mentioned in the Notitia Dignitatum. It is now identified with the fort found at Chesters near the village of Walwick, Northumberland, England...
along Hadrian's Wall
Hadrian's Wall
Hadrian's Wall is a stone or turf and timber fortification built by the Roman Empire across the width of what is now northern England. Begun in 122, during the rule of emperor Hadrian, it was the first of two fortifications built across Great Britain, the second being the Antonine Wall in what is...
http://www.absoluteastronomy.com/topics/Disciplina

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Look up novelty in Wiktionary, the free dictionary. 2007
Novelty is the quality of being new. Although it may be said to have an objective dimension (e.g. a new style of art coming into being, such as abstract art or impressionism) it essentially exists in the subjective perceptions of individuals. It also refers to something novel; that which is striking, original or unusual.
Novelty can refer to:
- Novelties, small manufactured adornments; similarly novelty item, a toy or collectible
- Promotional item, novelties used in promotional marketing.
- Novelty (locomotive), one of the first steam locomotives which was due to compete at the Rainhill Trials of 1829
- Novelty (patent), part of the legal test to determine whether an invention is patentable
- Novelty, Missouri, a place in the United States
- Novelty dance, a type of dance that is popular for being unusual or humorous
- Novelty record, a musical album that capitalizes on something new, unusual, or a current fad
- Novelty show, a competition or display in which exhibits or specimens are in way some novel
- Novelty architecture, a building or other structure that is interesting because it has an amusing design
- Novelty effect, the tendency for performance to initially improve when new technology is instituted
- Novelty theory, an eschatological theory promoted by Terence McKenna
- Novelty, a chess term for a move in chess which has never been played before in a recorded game
- Novelty (album) by Jawbox
- The Novelty, a piano-rock band from Poughkeepsie, NY.
- Novelty is also an often used name for Russell Township in Ohio.

Ladislav Hejdánek (2006)

„Konkrétum“ chápu jako srostlici vnitřní a vnější stránky něčeho, co i po vnější stránce vykazuje znaky integrity (sjednocenosti), která však sama (jakožto založená zevnitř) není (vcelku, tedy „jako taková“) přístupná zvenčí. A protože „růst“ je předpokladem „srůstání“ (a řecky znamená sloveso FYEIN a FYESTHAI nejen roditi a roditi se, nýbrž také „růsti“), nemůžeme FYSIS ani „fyzičko“ redukovat na pouhý vnějšek, ale musíme trvat na tom, aby FYSIKA jako filosofická disciplína brala vždy v náležité míře v úvahu vnitřní stránku každého „růstu“ a tedy také každého „srůstání“, tj. sjednocování ve „srostlici“, concretum. – Na původ slova ani na jeho staré etymologické kořeny příliš nehledím, zejména pokud byly (či ještě jsou) spojeny s nějakými filosofickými (nebo pseudofilosofickými) významy. (Tak např. nechávám zcela stranou nejen aristotelskou koncepci pouhých potencialit HYLÉ a MORFÉ, jakož i třeba poměrně nedávnou její Whiteheadovu „adaptaci“ či reinterpretaci „světa hodnot“ a „světa proměnlivostí“.) „Niternost“ (resp. „vnitřní svět“) nechci chápat jako „možnost“, nýbrž jako „skutečnost“ sui genesis (aniž bych skutečnost předem omezoval na „jsoucna“). A na druhé straně minulost ani neškrtám jako „již nejsoucí“ a tedy „nic“, nýbrž naopak jako něco, co nechává své nepředmětné „stopy“ v budoucnosti (asi jako partitura symfonie zanechává jisté „nepřdmětné“, „ještě nejsoucí“ stopy v budoucnosti, v niž lze v nové situaci a v jiné, nové „době“ symfonii znovu nacvičit, dirigovat a zahrát). Opakování je možné právě jen díky tomu, že stále znovu přichází dost času k jeho uskutečnění; a protože jde o nově „přišlý“, „nastaví“ čas, není možné naprosto identické opakování, a to na žádné, ni na té nejprimitivnější, vysloveně „primordiální“ úrovni. Právě „konkrétnost“ každého událostného dění je zárukou toho, že absolutně identické opakované téhož není možné, ale že všechno dění je alespoň zčásti jedinečné, „historické“ – tedy dokonce i všechno dění „přírodní“. Podoby a analogie jsou možné (protože je možné nechávat či spíše „ukládat“ ony nepředmětné stopy „do“ budoucnosti, nejenom „do“ minulosti), ale absolutní identita možná není.
(Písek, 060617-3.)